Capsule reviews for Jan. 20

Detour

This low-budget noir thriller is more style than substance, with a handful of visual gimmicks — including the dreaded split-screens — supporting a clichéd screenplay that hardly seems worth the effort. Harper (Tye Sheridan) is a young law student whose mother is dying in the hospital while his stepfather (John Lynch) jets off to Vegas for a fling. However, his scheme for revenge involving a road trip with a hitman (Emory Cohen) and a stripper (Bel Powley) goes awry. Despite a few clever genre flourishes and solid performances, the film’s jumbled narrative doesn’t offer much tension or character depth, diminishing the subtlety and surprises as it goes along. (Rated R, 97 minutes).

My Father Die

The gritty visual texture is the highlight of this otherwise uneven revenge thriller marking the ambitious debut of director Sean Brosnan (son of Pierce). It chronicles a young man (Joe Anderson) from the Deep South who’s been deaf and mute since childhood, still reeling from the murder of his older brother by his ruthless father (Gary Stretch) two decades ago. When dad gets out pf prison, it’s time for violent payback. Brosnan effectively showcases an evocative throwback style — the haunting opening sequence is excellent — but the screenplay lacks momentum while it sorts through shady characters and counts down to the inevitable finale bathed in bloodthirsty nihilism. (Not rated, 102 minutes).

The Red Turtle

There’s not a word of dialogue in this contemplative animated fable about a castaway on a desert island, but its imagery still has plenty to say. This quietly powerful feast for the senses follows a shipwrecked man’s efforts to survive alone against the elements — including the tropical weather along with animals such as birds, crustaceans, and the titular turtle, which becomes both an unlikely adversary and a treasured companion. Although the plotting is modest, the film is visually spectacular, highlighted by beautifully textured hand-drawn animation by Dutch filmmaker Michael Dudok de Wit, making his feature debut. It’s a profound meditation on ingenuity and the human condition. (Rated PG, 80 minutes).

They Call Us Monsters

Does the juvenile justice system need reform? That’s a complex question to which this compelling documentary doesn’t provide easy answers. It follows four inmates — all violent offenders who were tried as adults — at a California prison who take a screenwriting class, which is really used to share the stories of their teenage delinquency and hopes for redemption against a system that seems stacked against them. Rookie director Ben Lear, the son of legendary television producer Norman Lear, provides an even-handed glimpse into the lives of its subjects without preaching or passing judgment about rehabilitation or recidivism. And there are some unexpected twists along the way. (Not rated, 82 minutes).

Trespass Against Us

We forgive those who made this muddled look at fractured families and arrested development, which tracks a British family of scofflaws and petty criminals who lives off the grid. A closer look, however, reveals a father (Michael Fassbender) showing resentment toward his controlling father (Brendan Gleeson) — who projects a cult-leader vibe — for his lack of education and how the family’s rebellious lifestyle has trickled down to his small children. As things spiral downward, the feature debut of director Adam Smith offers a mildly compelling glimpse into redemption and parental responsibility. Yet despite some strong performances, the characters and their plight remain at a frustrating emotional distance. (Rated R, 99 minutes).